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Harrison Rebecca: Decoding Star Wars

Decoding Star Wars

Gender, Race and the Power of Code in a Galaxy Far, Far Away

Library of Gender and Popular Culture

Female Dandyism in Popular Music

Pop & Postfeminism

Fueling Blockchain Innovation and DApp Expansion

Consensus

In this book, Owen Cantrell focuses on politics and popular culture in the United States from 1980 to 2020 to argue that the twin structures of feeling of nostalgia and paranoia offered a pathway to address the changed relationship to history in this era that were a result of the backlash politics to the gains of the civil rights movement(s). Drawing on Bifo Berardi's contention that "the future is over" helps explain how the concept of the future effectively ended in this era and made the structures of paranoia and nostalgia eminently more desirable as a cultural response to political dilemmas. As the future lost its place as a locus of value, then, we entered a state of what Mark Fisher calls "a failed mourning" to describe how the narratives of paranoia and nostalgia offered compensation for a future that no longer felt relevant or even possible. Throughout the latter half of the twentieth century and the first two decades of the twenty-first century, the structures of paranoia and nostalgia mirrored the changing political relationship to history, race, and culture in the United States. From Back to the Future and The Matrix to Get Out and Black Panther, Cantrell demonstrates how paranoia and nostalgia have structured American political and cultural life over the past forty years Ultimately, this book addresses both how the structures of paranoia and nostalgia functioned in this era, as well as how popular films reflected the failure to imagine the future.

Paranoia and Nostalgia in American Popular Culture, 1980-2020

Áskesis as a Route to Sex Education

Care of the Sexual Self

Embedded Systems in Automotive Applications

THE SUNDAY TIMES AND NEW YORK TIMES BESTSELLERThe renowned author returns with a timely book about his journeys to three sites of conflict - Dakar, South Carolina, and Palestine - exploring how the stories we tell, and the ones we don't, shape our realities. 'A politically-charged meditation on the power of stories' Guardian ***Ta-Nehisi Coates originally set out to write a book about writing, but soon found himself grappling with deeper questions about the destructive myths that shape our world. First we join Coates on his inaugural trip to Africa - a journey to Dakar, where he finds himself in two places at once: a modern city in Senegal and the ghost-haunted country of his imagination. He then takes readers to Columbia, South Carolina, where he reports on the banning of his own work and the deep roots of a false and fiercely protected American mythology - visibly on display in its segregationist statues. Finally in Palestine, Coates sees with devastating clarity the tragedy that grows in the clash between the stories we tell and reality on the ground. Written at a dramatic moment in American and global history, this work from one of our most important writers is about the urgent need to embrace the liberating power of even the most difficult truths. ***'An earnest and intimate exploration of locations of extreme injustice' Oprah Daily

The Message

Game Histories

Balls, Walls, and Bodies in Games and Play

Bounce

Caring Beyond Skin Deep

Emotions, Bodies, and Identities in the Hair and Beauty Salon

Topics and Issues in National Cinema

The Settled Screen: Landscape and National Identity in New Zealand Cinema is the first title to explore the relationship between the representation of landscape and the development of both a national cinema and a national identity. Through the early years of New Zealand's cinema, prior to any formalized governmental support, those few feature length narrative films repeated wholesale the modes of representing the landscape and its inhabitants, while the developing documentary and travelogue industries would construct the fantasy of 'Maoriland' with New Zealand becoming internationally known as a green paradise, a Pacific idyll with an exotic, tamed, indigenous population. This precursor of the now contemporary 'Brand New Zealand' - itself a modern, politically-corrected version of these earlier narratives - would be adjusted and amended over time, especially with the formation of the New Zealand Film Commission in the late 1970s, but never entirely discarded. Beginning with a discussion on films in which landscape - and particularly the colonial or settler landscapes - have been represented in other Western cinemas, like The Searchers and Thelma &amp; Louise, Wilson compares in indigenous films like Whale Rider, To Love a Maori and The Piano to exemplify the simultaneous strands of New Zealand cinema: a way of marketing the country based on the success of such spectacular films as Peter Jackson's Tolkien epics, and the simultaneous attempts by Maori, immigrant and minority filmmakers to find a way to represent other stories in this land without recourse to the tropes of a by-now dominant national industry.

Decoding Star Wars

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